Hi All,

I'm happy to announce the release of my piece, Wuji. Project files, 2
channel renderings, and information is available at:

http://kunstmusik.com/2017/04/01/wuji/

Regarding the work, this is a pure Csound project that was originally
designed for realtime performance across an array of heterogenous
speakers.  The description on the site describes some of how the
project changed over time and how a pre-rendered version was made.  I
thought I'd mention a few things specific to Csound use that I thought
might be of interest:

1. I wrote the piece primarily while live coding using Vim and the
csound-repl plugin[1].

2. The piece uses no score, only orchestra.  The instruments are
designed with two types of intentions: sounding instruments and
performing instruments.  The former generate sound, the latter use
temporal recursion to generate events to trigger the sounds. An
end_performance instrument is used to turn off Csound.  Even though
the project was designed for realtime and had indeterminant behavior,
it can still be rendered to disk with all of the indeterminacy
reflected in the render.

3. The piece uses a justly-tuned major chord (manually calculated), a
bohlen-pierce tuned set of dyads (using cpsxpch), and a modulated
tone.

4. The Makefile might be a source of interest for those who might be
interested in automating parts of their workflow but haven't used Make
before.  The Makefile has targets for generating multiple wav files
from the single-channel source CSD and commands for generating WAV,
FLAC, OGG, and MP3.  Running make with -j allowed me to build the
single-channel files in parallel, cutting down a lot of time than
trying to build each channel in series.

Thanks!
steven


[1] - https://github.com/kunstmusik/csound-repl

Csound mailing list
Csound@listserv.heanet.ie
https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
Send bugs reports to
        https://github.com/csound/csound/issues
Discussions of bugs and features can be posted here

Nice piece, Steven. It would’ve been a good one to listen live.
========================
Prof. Victor Lazzarini
Dean of Arts, Celtic Studies, and Philosophy,
Maynooth University,
Maynooth, Co Kildare, Ireland
Tel: 00 353 7086936
Fax: 00 353 1 7086952 

> On 1 Apr 2017, at 23:04, Rory Walsh  wrote:
> 
> Very nice Steven, although I've had to listen at low volume in case I wake anyone up. Tomorrow I'll put it on good and loud!! 
> 
> On 1 April 2017 at 22:25, Steven Yi  wrote:
> Hi All,
> 
> I'm happy to announce the release of my piece, Wuji. Project files, 2
> channel renderings, and information is available at:
> 
> http://kunstmusik.com/2017/04/01/wuji/
> 
> Regarding the work, this is a pure Csound project that was originally
> designed for realtime performance across an array of heterogenous
> speakers.  The description on the site describes some of how the
> project changed over time and how a pre-rendered version was made.  I
> thought I'd mention a few things specific to Csound use that I thought
> might be of interest:
> 
> 1. I wrote the piece primarily while live coding using Vim and the
> csound-repl plugin[1].
> 
> 2. The piece uses no score, only orchestra.  The instruments are
> designed with two types of intentions: sounding instruments and
> performing instruments.  The former generate sound, the latter use
> temporal recursion to generate events to trigger the sounds. An
> end_performance instrument is used to turn off Csound.  Even though
> the project was designed for realtime and had indeterminant behavior,
> it can still be rendered to disk with all of the indeterminacy
> reflected in the render.
> 
> 3. The piece uses a justly-tuned major chord (manually calculated), a
> bohlen-pierce tuned set of dyads (using cpsxpch), and a modulated
> tone.
> 
> 4. The Makefile might be a source of interest for those who might be
> interested in automating parts of their workflow but haven't used Make
> before.  The Makefile has targets for generating multiple wav files
> from the single-channel source CSD and commands for generating WAV,
> FLAC, OGG, and MP3.  Running make with -j allowed me to build the
> single-channel files in parallel, cutting down a lot of time than
> trying to build each channel in series.
> 
> Thanks!
> steven
> 
> 
> [1] - https://github.com/kunstmusik/csound-repl
> 
> Csound mailing list
> Csound@listserv.heanet.ie
> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
> Send bugs reports to
>         https://github.com/csound/csound/issues
> Discussions of bugs and features can be posted here
> 
> Csound mailing list Csound@listserv.heanet.ie https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND Send bugs reports to https://github.com/csound/csound/issues Discussions of bugs and features can be posted here


Csound mailing list
Csound@listserv.heanet.ie
https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
Send bugs reports to
        https://github.com/csound/csound/issues
Discussions of bugs and features can be posted here

+1 for the Chaotic sounds.


On 01/04/17 18:25, Steven Yi wrote:
> Hi All,
>
> I'm happy to announce the release of my piece, Wuji. Project files, 2
> channel renderings, and information is available at:
>
> http://kunstmusik.com/2017/04/01/wuji/
>
> Regarding the work, this is a pure Csound project that was originally
> designed for realtime performance across an array of heterogenous
> speakers.  The description on the site describes some of how the
> project changed over time and how a pre-rendered version was made.  I
> thought I'd mention a few things specific to Csound use that I thought
> might be of interest:
>
> 1. I wrote the piece primarily while live coding using Vim and the
> csound-repl plugin[1].
>
> 2. The piece uses no score, only orchestra.  The instruments are
> designed with two types of intentions: sounding instruments and
> performing instruments.  The former generate sound, the latter use
> temporal recursion to generate events to trigger the sounds. An
> end_performance instrument is used to turn off Csound.  Even though
> the project was designed for realtime and had indeterminant behavior,
> it can still be rendered to disk with all of the indeterminacy
> reflected in the render.
>
> 3. The piece uses a justly-tuned major chord (manually calculated), a
> bohlen-pierce tuned set of dyads (using cpsxpch), and a modulated
> tone.
>
> 4. The Makefile might be a source of interest for those who might be
> interested in automating parts of their workflow but haven't used Make
> before.  The Makefile has targets for generating multiple wav files
> from the single-channel source CSD and commands for generating WAV,
> FLAC, OGG, and MP3.  Running make with -j allowed me to build the
> single-channel files in parallel, cutting down a lot of time than
> trying to build each channel in series.
>
> Thanks!
> steven
>
>
> [1] - https://github.com/kunstmusik/csound-repl
>
> Csound mailing list
> Csound@listserv.heanet.ie
> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
> Send bugs reports to
>         https://github.com/csound/csound/issues
> Discussions of bugs and features can be posted here

Csound mailing list
Csound@listserv.heanet.ie
https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
Send bugs reports to
        https://github.com/csound/csound/issues
Discussions of bugs and features can be posted here

my congratulations, for technical competence, timbral sensibility, binding power.

And I appreciate the generous sharing mood!

But, I would express a general valutation, refereable to musicale genre: bordone music (drone music).

I think that semantic connotations of this genre are:

immobility of being;

metaphysical vision of world;

dominance of sciences and thecniques over  philosophy, history...

I'm leaning towards other orientations.

I wonder have you used livecoding with vim also on the concert? Or you have prerecorded at the studio?

2017-04-02 10:49 GMT+03:00 Anton Kholomiov <anton.kholomiov@gmail.com>:

Thanks for sharing Steven,it should be great to listen with the full system of speakers I guess.

I like the hissing sound!

2017-04-02 5:30 GMT+03:00 Guillermo Senna <gsenna@gmail.com>:

+1 for the Chaotic sounds.

On 01/04/17 18:25, Steven Yi wrote:
> Hi All,
>
> I'm happy to announce the release of my piece, Wuji. Project files, 2
> channel renderings, and information is available at:
>
> http://kunstmusik.com/2017/04/01/wuji/
>
> Regarding the work, this is a pure Csound project that was originally
> designed for realtime performance across an array of heterogenous
> speakers.  The description on the site describes some of how the
> project changed over time and how a pre-rendered version was made.  I
> thought I'd mention a few things specific to Csound use that I thought
> might be of interest:
>
> 1. I wrote the piece primarily while live coding using Vim and the
> csound-repl plugin[1].
>
> 2. The piece uses no score, only orchestra.  The instruments are
> designed with two types of intentions: sounding instruments and
> performing instruments.  The former generate sound, the latter use
> temporal recursion to generate events to trigger the sounds. An
> end_performance instrument is used to turn off Csound.  Even though
> the project was designed for realtime and had indeterminant behavior,
> it can still be rendered to disk with all of the indeterminacy
> reflected in the render.
>
> 3. The piece uses a justly-tuned major chord (manually calculated), a
> bohlen-pierce tuned set of dyads (using cpsxpch), and a modulated
> tone.
>
> 4. The Makefile might be a source of interest for those who might be
> interested in automating parts of their workflow but haven't used Make
> before.  The Makefile has targets for generating multiple wav files
> from the single-channel source CSD and commands for generating WAV,
> FLAC, OGG, and MP3.  Running make with -j allowed me to build the
> single-channel files in parallel, cutting down a lot of time than
> trying to build each channel in series.
>
> Thanks!
> steven
>
>
> [1] - https://github.com/kunstmusik/csound-repl
>
> Csound mailing list
> Csound@listserv.heanet.ie
> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
> Send bugs reports to
>         https://github.com/csound/csound/issues
> Discussions of bugs and features can be posted here

Csound mailing list
Csound@listserv.heanet.ie
https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
Send bugs reports to
        https://github.com/csound/csound/issues
Discussions of bugs and features can be posted here

Csound mailing list Csound@listserv.heanet.ie https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND Send bugs reports to https://github.com/csound/csound/issues Discussions of bugs and features can be posted here

Hi All,

Thanks for the kind words and feedback. Regarding the "chaotic" sound,
it was a very interesting effect for me, especially within the room.
Since each channel plays with 7 iterations, and since there are 24
channels, it has quite a fluid sound quality when you are further away
and hear the group effect and a somewhat more dynamic individual
quality when you are closer and within the speakers. (At least, that
was how I conceived it while composing and how I perceived it live.) I
found it an interesting element that recedes through the piece, much
as the Bohlen-Pierce material does, that lets the major chord material
"bloom" into focus to reveal its timbral shifting qualities.  I've
listened to multiple renders of the piece and each one has its own
interesting variations, but I suppose a lot of the above comes out for
me in each render/performance.

Regarding the performance, I did not live code nor did I intend to.
The live coding was done while developing the work to experiment with
different instrument designs and performance patterns.  Coding live
made the feedback loop very quick to evaluate an instrument and listen
to one instance, alter the instrument and listen, try out different
chords and tunings, listen, and so on.

The performance was intended for multiple computers/devices and that
they would all render the CSD live.  However, the setup for the
hardware system evolved quickly and I was somewhat composing with just
notions of what the final system would be.  I did know that there was
going to be a central computer that would have a 24-channel interface
that would have channels mapped to individual speakers.  Rendering out
the CSD as individual channels worked well for the central computer
approach as the CSD itself has some indeterminacy.  The same
24-channel mix was used for both performances last week; to capture
the realtime quality envisioned, different 24-channel renders should
be used each performance.

Thanks!
steven



On Sun, Apr 2, 2017 at 5:53 AM, Anton Kholomiov
 wrote:
> I wonder have you used livecoding with vim also on the concert? Or you have
> prerecorded at the studio?
>
> 2017-04-02 10:49 GMT+03:00 Anton Kholomiov :
>>
>> Thanks for sharing Steven,it should be great to listen with the full
>> system of speakers I guess.
>> I like the hissing sound!
>>
>> 2017-04-02 5:30 GMT+03:00 Guillermo Senna :
>>>
>>> +1 for the Chaotic sounds.
>>>
>>>
>>> On 01/04/17 18:25, Steven Yi wrote:
>>> > Hi All,
>>> >
>>> > I'm happy to announce the release of my piece, Wuji. Project files, 2
>>> > channel renderings, and information is available at:
>>> >
>>> > http://kunstmusik.com/2017/04/01/wuji/
>>> >
>>> > Regarding the work, this is a pure Csound project that was originally
>>> > designed for realtime performance across an array of heterogenous
>>> > speakers.  The description on the site describes some of how the
>>> > project changed over time and how a pre-rendered version was made.  I
>>> > thought I'd mention a few things specific to Csound use that I thought
>>> > might be of interest:
>>> >
>>> > 1. I wrote the piece primarily while live coding using Vim and the
>>> > csound-repl plugin[1].
>>> >
>>> > 2. The piece uses no score, only orchestra.  The instruments are
>>> > designed with two types of intentions: sounding instruments and
>>> > performing instruments.  The former generate sound, the latter use
>>> > temporal recursion to generate events to trigger the sounds. An
>>> > end_performance instrument is used to turn off Csound.  Even though
>>> > the project was designed for realtime and had indeterminant behavior,
>>> > it can still be rendered to disk with all of the indeterminacy
>>> > reflected in the render.
>>> >
>>> > 3. The piece uses a justly-tuned major chord (manually calculated), a
>>> > bohlen-pierce tuned set of dyads (using cpsxpch), and a modulated
>>> > tone.
>>> >
>>> > 4. The Makefile might be a source of interest for those who might be
>>> > interested in automating parts of their workflow but haven't used Make
>>> > before.  The Makefile has targets for generating multiple wav files
>>> > from the single-channel source CSD and commands for generating WAV,
>>> > FLAC, OGG, and MP3.  Running make with -j allowed me to build the
>>> > single-channel files in parallel, cutting down a lot of time than
>>> > trying to build each channel in series.
>>> >
>>> > Thanks!
>>> > steven
>>> >
>>> >
>>> > [1] - https://github.com/kunstmusik/csound-repl
>>> >
>>> > Csound mailing list
>>> > Csound@listserv.heanet.ie
>>> > https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
>>> > Send bugs reports to
>>> >         https://github.com/csound/csound/issues
>>> > Discussions of bugs and features can be posted here
>>>
>>> Csound mailing list
>>> Csound@listserv.heanet.ie
>>> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
>>> Send bugs reports to
>>>         https://github.com/csound/csound/issues
>>> Discussions of bugs and features can be posted here
>>
>>
>
> Csound mailing list Csound@listserv.heanet.ie
> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND Send bugs reports to
> https://github.com/csound/csound/issues Discussions of bugs and features can
> be posted here

Csound mailing list
Csound@listserv.heanet.ie
https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
Send bugs reports to
        https://github.com/csound/csound/issues
Discussions of bugs and features can be posted here

I like this piece. And this is just the sort of thing that is
idiomatic to computer music.

Best,
Mike

-----------------------------------------------------
Michael Gogins
Irreducible Productions
http://michaelgogins.tumblr.com
Michael dot Gogins at gmail dot com


On Mon, Apr 3, 2017 at 1:30 AM, Steven Yi  wrote:
> Hi All,
>
> Thanks for the kind words and feedback. Regarding the "chaotic" sound,
> it was a very interesting effect for me, especially within the room.
> Since each channel plays with 7 iterations, and since there are 24
> channels, it has quite a fluid sound quality when you are further away
> and hear the group effect and a somewhat more dynamic individual
> quality when you are closer and within the speakers. (At least, that
> was how I conceived it while composing and how I perceived it live.) I
> found it an interesting element that recedes through the piece, much
> as the Bohlen-Pierce material does, that lets the major chord material
> "bloom" into focus to reveal its timbral shifting qualities.  I've
> listened to multiple renders of the piece and each one has its own
> interesting variations, but I suppose a lot of the above comes out for
> me in each render/performance.
>
> Regarding the performance, I did not live code nor did I intend to.
> The live coding was done while developing the work to experiment with
> different instrument designs and performance patterns.  Coding live
> made the feedback loop very quick to evaluate an instrument and listen
> to one instance, alter the instrument and listen, try out different
> chords and tunings, listen, and so on.
>
> The performance was intended for multiple computers/devices and that
> they would all render the CSD live.  However, the setup for the
> hardware system evolved quickly and I was somewhat composing with just
> notions of what the final system would be.  I did know that there was
> going to be a central computer that would have a 24-channel interface
> that would have channels mapped to individual speakers.  Rendering out
> the CSD as individual channels worked well for the central computer
> approach as the CSD itself has some indeterminacy.  The same
> 24-channel mix was used for both performances last week; to capture
> the realtime quality envisioned, different 24-channel renders should
> be used each performance.
>
> Thanks!
> steven
>
>
>
> On Sun, Apr 2, 2017 at 5:53 AM, Anton Kholomiov
>  wrote:
>> I wonder have you used livecoding with vim also on the concert? Or you have
>> prerecorded at the studio?
>>
>> 2017-04-02 10:49 GMT+03:00 Anton Kholomiov :
>>>
>>> Thanks for sharing Steven,it should be great to listen with the full
>>> system of speakers I guess.
>>> I like the hissing sound!
>>>
>>> 2017-04-02 5:30 GMT+03:00 Guillermo Senna :
>>>>
>>>> +1 for the Chaotic sounds.
>>>>
>>>>
>>>> On 01/04/17 18:25, Steven Yi wrote:
>>>> > Hi All,
>>>> >
>>>> > I'm happy to announce the release of my piece, Wuji. Project files, 2
>>>> > channel renderings, and information is available at:
>>>> >
>>>> > http://kunstmusik.com/2017/04/01/wuji/
>>>> >
>>>> > Regarding the work, this is a pure Csound project that was originally
>>>> > designed for realtime performance across an array of heterogenous
>>>> > speakers.  The description on the site describes some of how the
>>>> > project changed over time and how a pre-rendered version was made.  I
>>>> > thought I'd mention a few things specific to Csound use that I thought
>>>> > might be of interest:
>>>> >
>>>> > 1. I wrote the piece primarily while live coding using Vim and the
>>>> > csound-repl plugin[1].
>>>> >
>>>> > 2. The piece uses no score, only orchestra.  The instruments are
>>>> > designed with two types of intentions: sounding instruments and
>>>> > performing instruments.  The former generate sound, the latter use
>>>> > temporal recursion to generate events to trigger the sounds. An
>>>> > end_performance instrument is used to turn off Csound.  Even though
>>>> > the project was designed for realtime and had indeterminant behavior,
>>>> > it can still be rendered to disk with all of the indeterminacy
>>>> > reflected in the render.
>>>> >
>>>> > 3. The piece uses a justly-tuned major chord (manually calculated), a
>>>> > bohlen-pierce tuned set of dyads (using cpsxpch), and a modulated
>>>> > tone.
>>>> >
>>>> > 4. The Makefile might be a source of interest for those who might be
>>>> > interested in automating parts of their workflow but haven't used Make
>>>> > before.  The Makefile has targets for generating multiple wav files
>>>> > from the single-channel source CSD and commands for generating WAV,
>>>> > FLAC, OGG, and MP3.  Running make with -j allowed me to build the
>>>> > single-channel files in parallel, cutting down a lot of time than
>>>> > trying to build each channel in series.
>>>> >
>>>> > Thanks!
>>>> > steven
>>>> >
>>>> >
>>>> > [1] - https://github.com/kunstmusik/csound-repl
>>>> >
>>>> > Csound mailing list
>>>> > Csound@listserv.heanet.ie
>>>> > https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
>>>> > Send bugs reports to
>>>> >         https://github.com/csound/csound/issues
>>>> > Discussions of bugs and features can be posted here
>>>>
>>>> Csound mailing list
>>>> Csound@listserv.heanet.ie
>>>> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
>>>> Send bugs reports to
>>>>         https://github.com/csound/csound/issues
>>>> Discussions of bugs and features can be posted here
>>>
>>>
>>
>> Csound mailing list Csound@listserv.heanet.ie
>> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND Send bugs reports to
>> https://github.com/csound/csound/issues Discussions of bugs and features can
>> be posted here
>
> Csound mailing list
> Csound@listserv.heanet.ie
> https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
> Send bugs reports to
>         https://github.com/csound/csound/issues
> Discussions of bugs and features can be posted here

Csound mailing list
Csound@listserv.heanet.ie
https://listserv.heanet.ie/cgi-bin/wa?A0=CSOUND
Send bugs reports to
        https://github.com/csound/csound/issues
Discussions of bugs and features can be posted here